Translation of "Le linceul du Christ."
CONTENTS PAGE Introduction 9 CHAPTER I General Description and Examination of the Impressions visible on the Holy Shroud — The Appearance and Signification of the Marks 15 CHAPTER II The Reasons which cause us to attribute the Impressions on the Holy Shroud to the Body of Jesus Christ — The Wound-Marks of Christ — Examination of the Wound- Marks on the Shroud — A Study of the Gospels with regard to the Entombment of Christ 25 CHAPTER III Documentary History of the Holy Shroud 53 CHAPTER IV Descriptions of various Copies of the Holy Shroud 61 CHAPTER V The Face on the Holy Shroud, compared with imaginative Portraits 84 CHAPTER VI The Impressions are actual Negatives — These Negatives cannot be Paintings — These Negatives cannot have been produced by chemical Transformation — The Shroud has retained the Impression of a human Body — The Process necessary to produce Prints by simple Contact — The Impressions result from some Action without Contact 108 CHAPTER VII Experimental Researches as to negative Impressions resulting from chemical Action without Contact 154 PLATES I The Holy Shroud. From the Painting by Giuho Clovio (xvi. Century) Frontispiece II The Head as seen on the Shroud Between pp. 10, 11 III The Head as seen on the photographic negative Plate Between pp. 10, 11 IV Facsimile of the Shroud. Upper half showing front View of the Figure, lower half showing back View of the Figure 16, 17 V The Holy Shroud. Facsimile of the photographic negative Plate 16, 17 VI Calvary. Fragment of a Fresco at Assisi To face p. 119 VII Impressions taken from a living Head smeared with red Chalk 132 VIII Impressions produced by chemical Action 158 IX Copy of the Holy Shroud (see page 78) 164 ILLUSTRATIONS IN THE TEXT FIG. PAGE 1. Section through a Drop of Blood which has dried on an Impermeable Substance 29 2. A, Type of Wound caused by Scourging — B, Shape of Instrument capable of causing such Wound — C, Metal Button attached to the Roman. " Fiagrum " 36 3. The Scourging, by Le Maitre de la Passion de Lyversberg, Cologne Museum (xv. Century) 37 4. The Besancon and Turin Shrouds. From an Engraving in Chifflet's Work 65 5. Sketches showing that the Besancon Shroud was copied from that of Lirey (Turin) 69 6. The Besancon Shroud. From an Engraving (xv. Century [?]) 70 7. Copy of the Besancon Shroud. Painted on Linen 71 8. Copy of the Besancon Shroud. In Sepia by Pierre Dargent (xvi. Century) 73 9. The Farnese Neptune (Naples Museum) 86 10. AEschinus (Naples Museum) 86 11. Demosthenes (Vatican Museum) 87 12. Portrait of a Syro-Phoenician Noble (Theodore Graf Collection) 88 13. The Ravenna Christ (vi. Century) 88 ILLUSTRATIONS IN THE TEXT 14. The Martorana Christ, Palermo (xii. Century) 89 15. Christ. The Palatine Chapel, Palermo (xii. Century) 89 16. Christ. Cluny Museum (xii. Century 90 17. Christ. Chartres Cathedral (xii. Century) 90 18. Christ Teaching. Chartres Cathedral (xiii. Century) 91 19. Le beau Dieu. Amiens Cathedral (xiii. Century) 92 20. Christ Teaching. Bourges Cathedral (xiii. Century) 93 21. An Apostle. Cluny Museum (xiv. Century) 94 22. Christ as the Gardener. Notre Dame, Paris (xiv. Century) 95 23. Christ and St. Thomas. Semur en Auxois (xiv. Century) 96 24. Head of Christ carved in Wood at Pontoise (xiv. Century) 96 25. Calvary, by Taddeo Gaddi, at Assisi (xiv. Century) 100 26. Head of Christ. Louvre Museum (xv. Century) 101 27. Christ blessing, by Quentin Matsys. Antwerp Museum (xvi. Century) 102 28. The dead Christ. Fragment from the Antwerp Triptych, by Quentin Matsys (xvi. Century) 103 29. The dead Christ, by Giovanni Bellini, at Venice (xv. Century) 105 30. Christ at the Last Supper. Drawing by Leonardo da Vinci at the Brera Museum, Milan (xv. Century) 106 31. Diagram 141 32. " 142 33. " 143 34. " 144 35. " 145 36. " 146 37. " 148 38. " 151

Translation of Le linceul du Christ

"List of recent publications concerning the holy shroud of Turin": leaf at end

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